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Paul Klee (Swiss-born German, 1879 -1940)

Revolving House, 1921

Oil and pencil on cotton cheesecloth mounted on paper. 37.7 x 52.2 cm

Museo Nacional Thyssen-Bornemisza, Madrid

#paul klee #cubism #german art #swiss art #abstract landscape #art #mu art #mu #thyssen bornemisza

René Magritte dijo de su dibujo de una pipa que aquello no era una pipa y nuestra forma de mirar las imágenes cambió para siempre. A diferencia de los surrealistas..... ‎FAMILY CHAOS.‎‎ In Lessines, the small town just over an hour from Brussels where the artist was born in 1898, the‎ ‎ Magritte family was known for the chaos that reigned in it. The father, a tailor by profession, was a gambler, alcoholic and sometimes sold pornography, according to the recent and considered definitive biography of Alex Danchev; the mother, a hatter, was afflicted with severe depression and the three sons – René was the eldest – were known as the Cherokees for their savage behavior. ‎ ‎When the future artist was thirteen years old, the mother, who was sometimes locked up to prevent him from escaping, committed suicide by throwing herself into the nearby Sambre River; It took eighteen days to find the body, his face covered by his wet nightgown. Although little Magritte could hardly see this image, it has traditionally been related to some of his paintings, such as the heads covered by a veil in ‎‎The Lovers II.‎ ‎The vision‎ ‎His work is "a reflection on painting itself that he addresses with paradox as a fundamental tool", explains CaixaForum‎ ‎AWAY FROM PSYCHOLOGY. ‎‎ Of course the suicide of the mother marked the artist, but he never wanted to talk about it, not even to his wife, Georgette Berger, who pointed out that he never referred to the issues that moved him, only painted them. Some scholars of his work have seen the trauma reflected from a psychoanalytic point of view in the confusion between animate and inanimate, the emptiness that seems to permeate his paintings, but Magritte on several occasions rejected this link: "psychology does not interest me ... It aims to reveal the flow of our thoughts and emotions. His efforts are contrary to what I know, he seeks to explain a mystery. There is only one mystery: the world."‎ ‎The influence on contemporaneity‎ ‎History of an apple‎ ‎René Magritte did not like to travel, but in 1965 he traveled to New York for the retrospective dedicated to him by MoMA and that consecrated his work and his figure in the United States. The artist, who did not speak English and did not seem too interested in any of that, quickly returned to Belgium, but his metapainting dazzled the artistic world in its broadest sense. So much so that inspiring from rock to computer science and memes. ‎ ‎Magritte was obsessive with his themes, objects, of which he painted numerous variations. One of them was the apple, the Granny Smith that covers the face of a figure (maybe Magritte?) in ‎‎The Son of Man, ‎‎which grows as if it had just eaten of Alice's mushroom to occupy the entire room in The Room You Hear (next to these lines), which emulating the famous pipe contains the inscription ‎‎Ceci n'est pas une pomme‎‎, or that in becomes a couple, both covered with a mask, in ‎‎Le prête Marié‎‎. Also in ‎‎The Game of Blackberry,‎‎ a simple apple with the inscription ‎‎Au Revoir ‎‎inside that a young Paul McCartney bought in a London art gallery, as explained in his ‎‎biography, Groovy Bob‎‎, the dealer Robert Fraser. At that time, the Beatles were looking for a name and logo for the record company they wanted to found, and the apple was their inspiration: it would be called Apple Corps. Paul McCartney became an admirer of the Belgian artist and bought several of his works (he is one of his biggest collectors), as did his partner John Lennon. The green apple also seduced other musicians, including guitarist Jeff Beck, who was inspired by ‎‎The Game of Blackberry ‎‎for the cover of his album ‎‎Beck-Ola.‎‎ ‎ ‎The famous Granny also allegedly inspired Steve Jobs when he created Apple Computer, and that already proved more problematic. The Beatles' Apple sued Jobs' Apple in 1978 over the use of the name. The legal battle, with different moments, episodes, sentences and compensation did not end until 2007. Magritte was right: the apple was not an apple, it was a lot of money‎. ‎FAMILY CHAOS.‎‎ In Lessines, the small town just over an hour from Brussels where the artist was born in 1898, the‎ ‎ Magritte family was known for the chaos that reigned in it. The father, a tailor by profession, was a gambler, alcoholic and sometimes sold pornography, according to the recent and considered definitive biography of Alex Danchev; the mother, a hatter, was afflicted with severe depression and the three sons – René was the eldest – were known as the Cherokees for their savage behavior. ‎ ‎When the future artist was thirteen years old, the mother, who was sometimes locked up to prevent him from escaping, committed suicide by throwing herself into the nearby Sambre River; It took eighteen days to find the body, his face covered by his wet nightgown. Although little Magritte could hardly see this image, it has traditionally been related to some of his paintings, such as the heads covered by a veil in ‎‎The Lovers II.‎ ‎The vision‎ ‎His work is "a reflection on painting itself that he addresses with paradox as a fundamental tool", explains CaixaForum‎ ‎AWAY FROM PSYCHOLOGY. ‎‎ Of course the suicide of the mother marked the artist, but he never wanted to talk about it, not even to his wife, Georgette Berger, who pointed out that he never referred to the issues that moved him, only painted them. Some scholars of his work have seen the trauma reflected from a psychoanalytic point of view in the confusion between animate and inanimate, the emptiness that seems to permeate his paintings, but Magritte on several occasions rejected this link: "psychology does not interest me ... It aims to reveal the flow of our thoughts and emotions. His efforts are contrary to what I know, he seeks to explain a mystery. There is only one mystery: the world."‎

‎‎René Magritte said of his drawing of a pipe that it was not a pipe and our way of looking at the images changed forever. Unlike the surrealists who made the subconscious speak, or so they intended, Magritte, who never had too good a relationship with them, defined his painting as "the art of thinking", that is why his paintings question in another way, opening unsuspected meanings. This rereading had a way of entering the public through advertising and other uses that have sometimes devoured the painter's own work, but just as his paintings contain many other paintings, approaching the character opens many other windows. We trace the life of the painter beyond the dark and everlasting bowler suit from new biographies and exhibitions such as CaixaForum, previously presented at the ‎‎Thyssen-Bornemisza Museum.‎

AND THE REST OF THE SURREALISTS.‎‎ The first Magritte was influenced by Cubism and other isms while working as a designer in a paper mill. The fall of the abstract horse occurred in 1922, when the artist discovered De Chirico: his painting‎‎ The Love Song‎‎, with the dissociation between the words of its title and what appears in it – a head of Greek god, a rubber glove ... – provoked a kind of epiphany in Magritte, which in 1926 became the promoter of Belgian surrealism. ‎

‎A year later he settled in Paris with his wife, a detail no less, because it was precisely an incident with Georgette Berger that caused his definitive break with the group commanded by André Breton. The three years that the Magrittes remained in Paris were extraordinarily creative for the artist, it was there that he began to experiment in his paintings with words, but without the automatism of the surrealist group, nor the eruption of the subconscious of a Salvador Dalí. ‎

‎Although he related to them and Breton bought some of their works, Magritte preferred to live apart. In 1930, in a meeting with Paul Èluard and Louis Aragon, André Breton asked Georgette Berger why she wore a crucifix around her neck, and when she refused to remove it at her request, the Magrittes left the meeting and a few days later Paris.‎

‎LIFE IN BRUSSELS. ‎‎ René Magritte and Georgette Berger had met at a local fair when he was 14 and she was 12; separated during the war, they met again six years later and remained married until their deaths. His life in a house on the outskirts of Brussels was extraordinarily orderly, as if it were a Kant, the artist took the dog for a walk every day at the same time. All the dogs were called LouLou or Jackie, and he dressed like the man in his paintings, in a dark suit and bowler hat, a uniform that shows his sense of humor and irony under the breastplate of a petty bourgeois as he was considered: when he began to paint he was taken by a bank employee, and decided to add the hat so that the image was perfect. ‎

‎He did not have a studio, he painted on an easel in a corner of the dining room, with a suit and slippers, with great care that not a single drop fell on the carpets that covered all the rooms, something that can be understood as a parody of bohemian artists, or of himself, or none of it. His possible involvement in painting forgeries during World War II would be part of the character's joke.‎

‎The Surrealists‎

‎Magritte broke up with André Breton when he asked his wife, Georgette Berger, to remove the crucifix she wore.‎

‎THIS IS NOT A PIPE.‎‎ In his biography, Alex Dachev describes Magritte as "the largest supplier of images to the modern world", but it was always fair of money and the famous‎‎ The Betrayal of Images‎‎, in which under a painted pipe it reads "This is not a pipe", it took time to find a buyer, and art critics on many occasions did not live up to the artist, considering him more an illustrator than a creator. However, as stated in the exhibition‎‎ The Magritte Machine‎‎, his work constitutes "a reflection on painting itself that he addresses with paradox as a fundamental tool".‎

René Magritte dijo de su dibujo de una pipa que aquello no era una pipa y nuestra forma de mirar las imágenes cambió para siempre. A diferencia de los surrealistas que hacían hablar al subconsciente, o eso pretendían, Magritte, que nunca tuvo una relación demasiado buena con ellos, definía su pintura como “el arte de pensar”, por eso sus cuadros interpelan de otra manera, abriendo significados insospechados. Esa relectura tuvo una vía de entrada al público a través de la publicidad y otros usos que en ocasiones ha devorado la propia obra del pintor, pero igual que sus cuadros contienen muchos otros cuadros, acercarse al personaje abre otras muchas ventanas. Recorremos la vida del pintor más allá del traje oscuro y sempiterno bombín a partir de las nuevas biografías y exposiciones como la de CaixaForum, anteriormente presentada en el museo Thyssen-Bornemisza.

#visual arts #art #arte #Rene Magritte #thyssen bornemisza #surrealism #surrealsmo #exposição rene magritte